Happy Bloomsday everyone!
We’ve prepared a short interview with David Fennessy on James Joyce, sounds and serendipity. Watch it here:
Music in 1920s Berlin and Vienna: cool, sleek, jazzy and very modern. A generation of young composers swept away the 19th century and established a new kind of music that was bold, astringent, accessible and topical. But by 1934, denounced by the Nazi government and their music banned, they were swept away into exile leaving their work neglected and forgotten for over seventy-five years.
Ripe for rediscovery, the exciting opera, chamber, orchestral and vocal music of Ernst Toch, Kurt Weill, Erwin Schulhoff, Mischa Spoliansky, Friedrich Hollander and others of this lost generation is performed in a festival of five concerts over three days, much of it never before performed in the U.K.
You can find the full programme on the website of Kings Place.
The music is crystalline in its sheer beauty and in the mysterious network of quasi-neural connections that Boulez creates between every sound and moment in the piece. But Répons also has an awesome, torrential energy, in the streams of surreally fast music that careen throughout the ensemble, and in the collective, multi-dimensional sonic spectacular that the collective acoustic and electronic ensemble can create. (Tom Service, The Guardian, 12 June 2015)
A clearly impressed Tom Service has reviewed the Matthias Pintscher’s and the Ensemble Intercontemporain’s recent performance of Répons for The Guardian.
Find out more about Pierre Boulez on our #Boulez90 blog.
Mosell confronts this music fearlessly, shaping the smaller-scale pieces (the shortest, Klavierstück III, lasts just 38 seconds) as elegantly as she can, taking their technical challenges in her stride and above all conveying the sense of cutting-edge invention and innovation that is so characteristic of Stockhausen’s early music. (Andrew Clements, The Guardian, 10 June 2015)
High praise from Andrew Clements of The Guardian for Vanessa Benelli Mosell’s album [R]evolution.
The recording features eight piano pieces by Karlheinz Stockhausen and was published earlier this month by Decca.
Congratulations to Vykintas Baltakas, who has taken up an offer by the Maastricht Academy of Music to teach composition, starting in September.
The motivation behind this composition was the tragic death of Anton Webern on 15 September 1945.
After hearing about Anton Webern’s death on 15 September 1945, Krenek processed his shock and grief in January 1946 in his American exile.
Find a making-of video and a link to a live stream of Lulu by clicking the image to the right or by using one of the links below:
From the programme:
“Our final work is the incredible Psalmus Hungaricus, composed by Zoltan Kodaly in 1923 and rarely heard in the Hungarian language (as it will be tonight) outside of its native country. We are excited to have the internationally acclaimed opera and lieder singer, David Hamilton, as our tenor soloist, the well-known actor and director Raymond Hawthorne as the narrator of the poems in English and the children’s choir from Holy Trinity Cathedral, Auckland.”
We’ll be sending out our latest newsletter today at 13:00 – it focuses on the current productions of Berg’s Lulu at the Dutch National Opera in Amsterdam and the Bayerische Staatsoper in Munich.
Gert Korentschnig of the Austrian newspaper Kurier has written an extensive [German] review of both productions – read the full article online on Kurier.
The London Sinfonietta has announced that it will release an app based on Steve Reich’s Clapping Music:
From the London Sinfonietta’s press release:
“We are hugely excited to announce that the London Sinfonietta will launch a gaming app in June, based on Steve Reich's Clapping Music.
Improve your rhythm by learning how to play his work through the touch of your iPhone. High scorers on the game will be auditioned to perform the piece live with the London Sinfonietta in special events.
We are working with the award-winning Touchpress and Queen Mary University of London on the project, one of 12 pioneering partnerships funded by the Digital R&D Fund for the Arts.
Visit www.clappingmusicapp.com for more information.”
Tonight at the Teater Republique in Kopenhagen: conductor Benjamin Schneider and the Ensemble Modern present the Danish première of Wolfgang Rihm’s Sextett for clarinet, horn and string quartet at the Klang Copenhagen Avantgarde Music Festival.
This concert will be followed by a performance of Pierre Boulez’ Troisième Sonate by pianist Jonas Olsson.
The Gustav Mahler Jugendorchester has published part 3 of their “Rihm in Salzburg” video series, watch it on YouTube:
The show was conceived by Gerard McBurney as part of Chicago Symphony Orchestra’s acclaimed Beyond the Score series, keypieces from the Boulez’ oeuvre will be performed live together with the showing of rare archival footage and new interviews with the composer and conductor.
His opera, Bluebeard’s Castle, is as psychologically penetrating and daring as anything by Schoenberg, but jump forward two decades to the mid-Twenties and the lushness has been purged away. The music is still intense but the intensity is channelled through angular lines, grinding dissonances, and a pitiless counterpoint as severely rational as Schoenberg’s so-called ‘12-note’ music. (Ivan Hewett, The Telegraph, 27 May 2015)
Ivan Hewett of The Telegraph has reviewed David Cooper’s biography of Béla Bartók.